&
present
MARINA ABRAMOVIĆ
THE ARTIST IS PRESENT
a film by Matthew Akers
105 minutes. In English. Unrated.
To download hi-res images and video clips, please visit:
http://www.musicboxfilms.com/marina-abramovic-the-artist-is-present
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MARINA ABRAMOVIĆ
THE ARTIST IS PRESENT
SYNOPSIS
Seductive, fearless, and outrageous, Marina Abramović has been redefining what art is
for nearly 40 years. Using her own body as a vehicle, pushing herself beyond her limits
– and at times risking her life in the process – she creates performances that challenge,
shock, and move us. MARINA ABRAMOVIĆ THE ARTIST IS PRESENT follows the
artist as she prepares for what may be the most important moment of her life: a major
new retrospective of her work, taking place at The Museum of Modern Art. To be given a
retrospective at one of the world's premier museums is the most exhilarating sort of
milestone. For Marina, it is far more: it is the chance to finally silence the question she
has been hearing over and over again for four decades: “But why is this art?”
For Immediate Release
MARINA ABRAMOVIĆ THE ARTIST IS PRESENT
PAINTS A MESMERIZING PORTRAIT OF THE
PIONEERING AND CONTROVERSIAL PERFORMANCE ARTIST
New HBO Documentary Film Has World Premiere at the 2012 Sundance
Film Festival in the U.S. Documentary Competition
Even when encountering masterpieces like the Mona Lisa, museum-goers
often spend as little as 30 seconds pondering the work before moving on. But in
the case of “The Artist is Present,” a hugely popular exhibit by performance artist
extraordinaire Marina Abramović at New York’s Museum of Modern Art (MoMA),
many attendees stayed for hours – some after waiting all night. Even more
remarkable, the exhibit was breathtaking in its simplicity: two chairs facing each
other, with Abramović sitting in one and audience members taking turns sitting in
the other, gazing into each other’s eyes in silence. In true Abramović style, she
remained in the chair for seven and a half hours each day – every day that the
museum was open for three months – without eating, drinking or moving from her
seated position, a feat of mental and physical endurance that is challenging even
for a veteran of such performances.
Part of a blockbuster retrospective exhibit of Abramović’s controversial
work, which took place from March to May 2010 at MoMA, the work and the artist
are now the focus of a captivating new HBO feature-length documentary,
MARINA ABRAMOVIĆ THE ARTIST IS PRESENT. From first-time director
Matthew Akers, the film is an exclusive, behind-the-scenes portrait of Abramović,
who some affectionately call “the grandmother of performance art.” It will have its
world premiere at the 2012 Sundance Film Festival in the U.S. Documentary
Competition.
MARINA ABRAMOVIĆ THE ARTIST IS PRESENT is by no means a
typical "art film." With total access granted by Abramović and MoMA, MARINA
ABRAMOVIĆ THE ARTIST IS PRESENT is a mesmerizing cinematic journey
inside the world of radical performance, and an intimate portrait of an
astonishingly magnetic, endlessly intriguing woman who draws no distinction
between life and art.
Known for her extreme performance-art installations, many of them
involving nudity and punishing forms of bodily deprivation, Abramović says she is
one of a tiny number of artists of her generation still working in the field. She is
also a glamorous art-world icon, a lightning rod for controversy and a myth of her
own making. But after 40 years of facing skepticism about the artistic merit of her
work, she says she’s tired of the “alternative” label: “I’m 63! I don't want to be
alternative anymore!”
It is for that reason that the MoMA retrospective exhibit carried such
intense personal and professional significance for Abramović. Not only is it the
crowning achievement of her career, but she also sees it as an opportunity –
perhaps her last – to finally put performance art on the mainstream map.
“Performance art has never been a regular form of art,” she says in her
trademark broken English and Yugoslavian accent. “It’s always been alternative
since I was born, so I want it to be a real form of art and respected before I die.”
Based on interviews with Abramović, her collaborators and a variety of art
commentators, friends and fans, the documentary weaves archival footage of
Abramović's early works with images of her personal and professional life in the
momentous year leading up to her MoMA extravaganza. Revisiting her
controversial beginnings in the early 1970s, the film includes footage of her
driving around a public square in a van while shouting numbers from a
megaphone, taking psychoactive drugs to challenge social attitudes towards
female mental illness, and mutilating and flagellating herself.
MARINA ABRAMOVIĆ THE ARTIST IS PRESENT features interviews
and scenes with commentators and public figures, including: Klaus Biesenbach,
MoMA’s Chief Curator at Large, who conceived, titled and organized The Artist is
Present; art critic Arthur Danto; Chrissie Iles, curator of the Whitney Museum of
American Art; Abramović’s gallerist, Sean Kelly; writer Tom McEvilley; illusionist
David Blaine; Oscar®-nominated actor James Franco and Ulay, Marina’s early
partner and creative collaborator.
The retrospective exhibit occupied several floors of MoMA, most of them
dedicated to earlier chapters in Abramović’s career, with images and videos of
installations, many involving fellow performance artist Ulay. The exhibit also
features 41 young artists enlisted and trained by Abramović to “re-perform” some
of her early installations. For example, in “Imponderabilia,” two artists stand faceto-face, completely naked on opposite sides of a doorway that the public can only
squeeze through by brushing against the couple’s naked flesh—a piece originally
performed by Abramović and Ulay.
The main focus of the retrospective, however, is the new exhibit, in which
Abramović herself sits in a chair under bright spotlights opposite an empty chair
in which members of the public are invited to sit for as long as they want, gazing
into Abramović’s eyes. A seemingly endless parade of people lines up for the
opportunity, many of them returning to repeat the experience, sitting multiple
times on different days. Some sit for as long as ten hours.
The experience is astounding as a social leveler, drawing people of all
ages, races and walks of life. As the exhibit nears its end, the lines grow longer
and the numbers of would-be participants swell. To guarantee time with
Abramović, some camp outside MoMA to get a number, rushing to the exhibit as
soon as the museum doors open. As a result of the “direct energy dialogue”
between Abramović and the public, an emotional breakthrough occurs,
Abramović says. And so it seems to, with numerous sitters shedding tears or
beaming transcendent smiles. In all, an estimated 750,000 people see the show.
For Abramović, the piece is the longest-duration solo work of her career,
and by far the most physically and emotionally demanding she has ever
attempted. When she conceived it, she says, she knew instantly that it was the
right piece, because the mere thought of it "made me nauseous." Says MoMA
curator Klaus Biesenbach, “When she had this idea, I thought, ‘God, she's going
to kill herself.’” But despite the palpable pain and exhaustion that set in as the
weeks turn to months, she never even considers giving up, he says.
Perhaps the film’s most moving scene occurs when Ulay occupies the
seat opposite Marina. The two artists shared an emotionally intense and colorful
history spanning over 12 years, living in a van in Europe and performing
together, before their relationship ended in suitably dramatic fashion: each
walked from opposite ends of the Great Wall of China, met in the middle after
covering over 1,500 miles each, then said good-bye. Sitting opposite each other
in the MoMA exhibit, neither can hold back the tears. Eventually, to cheers from
the crowd of spectators, they reach across to hold each other — something none
of the other sitters is permitted to do. It’s a beautiful and deeply moving moment.
From the story of their relationship and their intensely charged reconnection in
the runup to the MoMA retrospective, a parallel Marina emerges — a flesh-andblood foil to the art-world icon — a woman who is driven by passion, desperate
for admiration, and maddeningly riven by contradictions.
Matthew Akers is an accomplished producer, director, photographer and
cinematographer known for his expertise in shooting cinéma vérité. He was the
producer and a lead cinematographer on the six-part PBS television event
“Circus,” and was a producer and camera operator on “Carrier,” a ten-part
Emmy® Award-winning PBS television series (2008). He was also a producer
and camera operator on “Nimrod Nation,” an eight-part Peabody Award-winning
documentary series. Akers also worked as a cinematographer on numerous
films, including the HBO documentaries “BACK IN THE HOOD: GANG WAR II,”
“HEIR TO AN EXECUTION” and “ELAINE STRITCH: AT LIBERTY.”
MARINA ABRAMOVIĆ THE ARTIST IS PRESENT is an HBO
Documentary Films presentation of A Show of Force production, directed by
Matthew Akers; Produced by Jeff Dupre and Maro Chermayeff; Director of
Photography, Matthew Akers; Co-Directed by Jeff Dupre; Edited by E. Donna
Shepherd; Co-Editor Jim Hession; Original Music by Nathan Halpern; CoProduced by Francesca von Habsburg and Owsley Brown III; For Dakota Group,
Ltd: Executive Producers Stanley Buchthal, Maja Hoffman & David Koh; For
HBO: Senior Producer, Nancy Abraham; Executive Producer: Sheila Nevins.
###
MARINA ABRAMOVIĆ THE ARTIST IS PRESENT
DIRECTOR’S STATEMENT
The first time I met the legendary, radical performance artist Marina Abramović, I
was immediately surprised and seduced by her warmth and charm. More astonishing
was her unconditional willingness to open up her entire life to my camera – a rarity in the
documentary world. On the other hand, I also knew that her openness posed a peculiar
sort of challenge. Marina is someone who has spent her whole career blurring the lines
between life and art. How would I know when she was performing for the camera or
not? Additionally, I was skeptical of performance art. Though I was well acquainted with
Marina’s place in art history, performance by its very definition is ephemeral and only a
first-hand encounter can allow you to experience its full transformative power. I had to
rely on historical texts, video documentation, and eyewitness accounts of her work in
order to learn about it. It was one thing to be seduced by her as a subject and another
thing to allow myself to be seduced by her myth.
The two main goals I set for myself in the beginning were to figure out how to
make the subject appeal to a wider audience than just the rarefied art world and to avoid
the trap of making a plodding biopic-style film. Right away I discussed my views on
performance art with Marina, and not only did she seem to admire a skeptical approach,
but she seemed totally energized by the challenge. After all, this is someone who has
spent nearly four decades unfazed by the question, as she states in the film, “…but why
is this art?”
Throughout the next ten months, I documented nearly every waking moment of
Marina’s life. I followed her to six countries, shooting hundreds of hours of her
encounters with colleagues, friends, critics and her reconnection with Ulay – her lover
and collaborator of 12 years. I also captured the entirety of a new performance that she
did in the Atrium of MoMA.
One thing that was clear after studying Marina’s oeuvre was how integral the
public had often been in the completion of the work. I figured that, if nothing else, the
sheer potential for spectacle or conflict in this new work could be mined for drama. The
museum, understandably, worked hard to minimize the chaos. They were not always
successful, however, as the public could be quite persistent in “punking” the
performance. Fortunately for Marina, her life never seemed genuinely threatened. Over
the course of the three months, it gradually became clear to me, and the rest of the
filmmaking team, that the potential physical risk of the performance had less resonance
than some of the more philosophical, emotional, and intellectual concepts.
Vulnerability, human connection, projection, sacrifice, and perception of time
were some big ideas that came into focus. Marina talked about it as a culmination of
everything she had been striving for her whole life – a statement that I initially found
confusing, since the work involved what she also stated was “something that was close
to nothing.” Was she striving for nothing?
It took me a while, but eventually I did begin to grasp what was going on in the
performance. It was like a slow burn. I had to spend an enormous amount of time simply
watching and thinking. We live in such an overly mediated world and the notion of simply
slowing down and doing literally nothing is unfortunately a radical concept. Ulay talks
about how disturbing people found their performance “Night Sea Crossing,” as it
involved silence, fasting, and motionlessness – three things discredited in the Western
world.
It’s as if our daily electronic rituals – surfing the web, watching television, etc. –
are working to construct a barrier between us and the present. It takes a while to simply
deconstruct that edifice before one can understand how profoundly simple it is to exist in
the moment. I had to retrain my brain.
My initial concern about Marina’s more theatrical side creeping in and fueling my
skepticism was quelled by the sheer austerity of the performance. Also, the work, while
absolutely grounded in Marina’s persona, simultaneously and paradoxically had nothing
to do with her. Instead of looking into Marina’s eyes and seeing the artist, the
participants were often seeing what they would refer to as projections of themselves. It
became clear to me that “The Artist Is Present” was undeniably valid and, moreover,
very powerful.
When it came time to edit and figure out how to incorporate all of these ideas, it
was a bit tricky. Fortunately, I worked with a great team of people. We went back and
forth weighing the pros and cons of building an artifice for those concepts through editing
and sound design, versus a starker observational approach. In the end, we tried to
strike a balance somewhere between both worlds. We realized that since we could
never truly represent the experience of witnessing the performance first-hand, the raw
footage was not necessarily an accurate representation anyhow. It became necessary
for us to attempt to make a separate work of art altogether.
It’s always hard to leave material on the cutting room floor, but I found it
especially heartbreaking on this film. However, just as Marina figured out a way to pare
down and simplify in this new performance, we eventually were forced to do the same in
the edit. We chipped away until what emerged surprised me. There are many truths to
this tale and this is simply one. Instead of a strictly critical examination of the different
aspects of Marina’s life and this new performance, the film took on a more
impressionistic lyrical quality.
In my wildest dreams, I could not have imagined what a sensation the
performance would become. My hope is that the film’s audience will have an
experiential encounter with the concepts in Marina’s work in a way that might reveal
something about themselves, as it certainly did for me.
– Matthew Akers
MARINA ABRAMOVIĆ THE ARTIST IS PRESENT
CHARACTER BIO
Marina Abramović, Subject
Since the beginning of her career in Belgrade during the early 1970s, Marina
Abramović has pioneered performance as a visual art form, creating some of her most
important early works. The body has always been both her subject and medium.
Exploring her physical and mental limits in works that ritualize the simple actions of
everyday life, she has withstood pain, exhaustion and danger in her quest for emotional
and spiritual transformation. From 1975 to 1988, Abramović and the German artist Ulay
performed together, dealing with relations of duality. Abramović returned to solo
performances in 1989. She has presented her work at major institutions in the U.S. and
Europe, including: the Stedelijk Van Abbemuseum, Eindhoven, 1985; Centre Georges
Pompidou, Paris, 1990; Neue National Galerie, Berlin, 1993; and the Museum of Modern
Art, Oxford, 1995. She has also participated in many large-scale international
exhibitions, including: the Venice Biennale (1976 and 1997) and Documenta VI, VII and
IX, Kassel (1977, 1982 and 1992). Her recent performances include: House with the
Ocean View at Sean Kelly Gallery, New York in 2002, and the Performance of Seven
Easy Pieces at The Guggenheim Museum, New York in 2005.
In 2008 she was decorated with the Austrian Commander Cross for her
contribution to Art History. In 2010 she had her first major retrospective in the United
States at the Museum of Modern Art, New York, performing for more than 700 hours.
In 2011 Abramović was awarded with the honorary degree of Doctor of Fine Arts
by Williams College in Williamstown, Massachusetts. In the same year a theatre piece
by Robert Wilson, entitled The Life and Death of Marina Abramović, premiered in
Manchester.
In 2012 the HBO documentary film, MARINA ABRAMOVIĆ THE ARTIST IS
PRESENT premiered at Sundance Film Festival, Utah and The Canadian Film Premiere,
Toronto. Upcoming exhibitions of Abramović’s work in 2012 include shows at PAC and
Lia Rumma Galeria, Milan, The University of Chicago and Kunsthalle, Vienna and solo
shows at La Fabrica Gallery, Madrid and Galleri Brandstrup, Oslo.
MARINA ABRAMOVIĆ THE ARTIST IS PRESENT
FILMMAKER BIOS
Matthew Akers, Director/Cinematographer
Akers is the Director and Cinematographer of MARINA ABRAMOVIĆ THE ARTIST IS
PRESENT, a feature documentary about the legendary performance artist that will have
its world premiere at the Sundance Film Festival and air on HBO in 2012.
He was the cinematographer of the award winning documentary film LEMON, about
the pioneering poet, three-time felon, and one-time Tony award winner Lemon
Andersen.
Akers produced and was the cinematographer of CIRCUS, a six-part documentary
series that aired in November 2010 on PBS.
Matthew was a producer and a camera operator on CARRIER, the 10-part Emmy
Award-winning PBS television series that premiered in April 2008.
In addition, he has been the cinematographer of numerous other feature documentaries
including the HBO documentaries, BACK IN THE HOOD: GANG WAR II, HEIR TO AN
EXECUTION and ELAINE STRITCH: AT LIBERTY.
Jeff Dupre, Producer/Co-Director
Jeff Dupre conceived and is Producer and Co-Director of MARINA ABRAMOVIĆ THE
ARTIST IS PRESENT a forthcoming feature documentary on the legendary performance
artist Marina Abramović that will air on HBO in 2012.
Jeff and Maro Chermayeff are partners in Show of Force, a film and television
production company. Show of Force is currently producing HALF THE SKY, a four-hour
documentary series for PBS based on the eponymous book by the Pulitzer Prizewinning New York Times columnist Nicholas Kristof and Sheryl WuDunn.
To commemorate its 50th Anniversary, Amnesty International recently commissioned
Jeff to direct and produce AI50, which distills the organization’s illustrious history into a
15-minute short film.
Dupre and Chermayeff are the executive producers, creators and directors of CIRCUS,
a six-part documentary series that aired in November 2010 on PBS. The New York
Times called it “beautifully filmed,” “truly affecting” and “quietly addictive,” asking readers
to “think of it as investing six hours in an elegant eavesdrop-on-our-family reality show
that puts all the noisy, obnoxious examples of that genre to shame.” Entertainment
Weekly said that “running away and joining the circus has never seemed less glamorous
– or more vividly thrilling and real. What’s fascinating here is the deeply empathetic
storytelling.”
He was a producer of CARRIER, the Emmy® Award-winning ten-part documentary
series that premiered on PBS in April 2008 to widespread critical acclaim. Entertainment
Weekly called the series “honest and engrossing” and said it is “mandatory viewing.”
Newsday described it as “frank and intimate, hard-hitting and heart-rending.”
Dupre produced BROADWAY: THE AMERICAN MUSICAL, Michael Kantor’s six-part
series that premiered on PBS in October 2004 to widespread critical acclaim. Variety
called the series “engrossing” and “illuminating” and said “this lovingly crafted six-part
series is in itself a milestone.” The series won the 2005 Emmy® Award for Outstanding
Non-Fiction Series.
His directorial debut, OUT OF THE PAST, won the Audience Award for Best
Documentary at the 1998 Sundance Film Festival. The New York Post called OUT OF
THE PAST “eye opening and moving” and The New Yorker described it as “an
emotionally textured treatise on alienation and marginalization which is intelligent and
entertaining.” The film also garnered the Audience Award at Outfest ’98; won a GLAAD
Media Award for Best Documentary of 1998 and aired on PBS in October 1998.
Maro Chermayeff, Producer
Maro Chermayeff is a producer, director and former television executive whose
numerous documentary films and television programs have toured the world in
prestigious festivals (Sundance Telluride, London, Berlin), played theatrically, been
broadcast on primetime television and won multiple awards. She has made films and
event television series for PBS, HBO, A&E, TLC, Bravo, Discovery, France 2 and
Channel 4 UK. Maro is Founder and Chairman of the MFA Program in Social
Documentary at The School of Visual Arts in New York City and is a former faculty
member of NYU’s Graduate School of Film and Television.
Maro is currently Executive Producer and Project Director of HALF THE SKY, a
groundbreaking transmedia initiative based on the book HALF THE SKY: Turning
Oppression into Opportunity for Women Worldwide by the Pulitzer Prize winning New
York Times columnist Nicholas Kristof and Sheryl WuDunn. At the heart of HALF THE
SKY will be a multi-part documentary series for public television. The series follows
Kristof and WuDunn and six activist actresses – Eva Mendes, Olivia Wilde, Meg Ryan,
America Ferrera, Gabrielle Union and Diane Lane – to nine countries in the developing
world. Utilizing the PBS broadcast as well as an extensive website, games and
education modules, HALF THE SKY is poised to tip the scales and create a movement
that empowers women and girls around the globe through individual stories of courage
and overcoming adversity. Narrated by George Clooney, HALF THE SKY will air on
PBS in fall 2012 and will also be distributed internationally.
With her partner, Jeff Dupre, Maro is producer of the feature documentary MARINA
ABRAMOVIĆ THE ARTIST IS PRESENT, which will premiere at the 2012 Sundance
Film Festival and will debut on HBO in 2012. She also recently produced and co-directed
with Micah Fink the feature documentary MANN v. FORD, which aired in July 2011 on
HBO. In 2010 she directed and produced with Christine Le Goff the feature
documentary PARASOMNIA, which premiered in Nov 2010 on France 2.
Maro and Jeff are the executive producers, creators and directors of CIRCUS, a six-part
documentary series that aired in November 2010 on PBS. Maro was co-creator, an
executive producer and director, and Jeff the producer of the Emmy® Award-winning ten-
hour PBS television event CARRIER that premiered in April 2008 to success both
critically and in the ratings, with close to five million viewers on broadcast, download and
DVD sales. In 2001-2002, she was a producer and director of the six-part multi awardwinning PBS series FRONTIER HOUSE for Thirteen/WNET and Channel Four UK.
FRONTIER HOUSE is one of the highest-rated programs in the history of PBS. In 2002,
she produced, wrote and directed the feature documentary special ROLE REVERSAL
for A&E. In 2000, she produced, directed and wrote the two-hour feature
documentary AMERICAN MASTERS: JUILLIARD that aired as part of the Emmy®
Award-winning PBS series AMERICAN MASTERS. She is co-author of the companion
book, JUILLIARD, published by Harry N. Abrams, Inc. In 1998, she produced, directed
and edited the feature-length documentary THE KINDNESS OF STRANGERS.
Produced in conjunction with James Redford and Christine Le Goff, the film premiered
at the 1998 Telluride Film Festival and aired on HBO in October 1999. In 1997,
Maro produced and edited NASHVILLE: CROSSING THE LINE for the award-winning
series TRAUMA: LIFE IN THE ER for New York Times Television. Over the last ten
years, she has worked as a consultant and editor on more then 15 one-hour CHARLIE
ROSE specials. In her early career Maro worked in feature and trailer promotion as a
staff member of R/Greenberg and Associates and The Kanew Company.
Additionally, from 2002 to 2004, Maro served as a senior programming executive and
network consultant for A&E Television Network, and was nominated for the Emmy® in
this position. She is partner and co-owner with Jeff Dupre of the New York-based
production company Show of Force.
MARINA ABRAMOVIĆ THE ARTIST IS PRESENT
CREDITS
OPENING CREDITS
A SHOW OF FORCE
PRODUCED BY JEFF DUPRE
PRODUCED BY MARO CHERMAYEFF
MUSIC BY NATHAN HALPERN
EDITED BY E. DONNA SHEPHERD
CO-EDITOR JIM HESSION
DIRECTED BY MATTHEW AKERS
Main title:
MARINA ABRAMOVIĆ
THE ARTIST IS PRESENT
END CREDITS
Director of Photography
MATTHEW AKERS
Co-Directed By
JEFF DUPRE
Executive Producer for HBO
SHEILA NEVINS
Senior Producer for HBO
NANCY ABRAHAM
Senior Creative Advisor
MICHELLE FERRARI
Co-Producer
FRANCESCA VON HABSBURG
THYSSEN-BORNEMISZA ART CONTEMPORARY
Co-Producer
OWSLEY BROWN
Associate Producer
MARCUS RICCI
Associate Editors
KRISTIAN GONZALES
LEWIS RAPKIN
Music Supervisors
CARTER LITTLE
G. MARQ ROSWELL
Executive Producers for Dakota Group Ltd.
STANLEY BUCHTHAL
MAJA HOFFMANN
DAVID KOH
CREDIT ROLL BEGINS
PRODUCTION CREW
Additional Cinematography
ROBERT HANNA
MARCUS RICCI
AXEL BAUMANN
Sound Recordists
MARCUS RICCI
RICHARD FLEMING
Production Coordinator
DAVID SMOLER
Consultant
BETH LEVISON
Coordinating Producer for Show of Force
JOSHUA BENNETT
Assistant Camera
DAVID SMOLER
Additional Sound Recording
JOHN BONAFEDE
JEAN COLEMAN
JONATHAN JACKSON
JANET KURNATOWSKI
DAVID SMOLER
MICHAEL VELASCO
Production Assistants
ALEXANDER BOUTON
JEAN COLEMAN
LOU LOU DAVID
MARK KENDALL
NADJA STABLI
EMILY WETTSTEIN
Production Interns
GEORGIA GRUZEN
OLIVIA KOSKI
BENJAMIN NIMKIN
MORGAN PEARSE
SARAH PHOENIX
LEI TOKUDA
Production Manager, Belgrade
IGOR KECMAN
FILM HOUSE BAŠ ČELIK
Production Accountant
ANDREW HALL
POST PRODUCTION
Post Production Supervisor
DAN GILBERT
Archival Research
AMY SCHEWEL
SALLY ROSENTHAL
Loggers
JEAN COLEMAN
BRIAN DOYLE
Post Production Facility
TECHNICOLOR POSTWORKS NEW YORK
Post Production Project Manager
MICHAEL ASHBURN
HD Conform and Titles
MIKE NILGITSALAMONT
VFX Artist
GEORGE BUNCE
Color
SCOT OLIVE
Title Design by
CHERMAYEFF & GEISMAR STUDIO
Title Graphics
SAGI HAVIV
IVAN CHERMAYEFF
TOM GEISMAR
After Effects Animation
MATT RIGBY
Map Animation
KATHERINE BURKE
GREG RUSLING
AARMADA ENTERTAINMENT
Archival Photograph Restoration
DAVID SMOLER
Archival HD Transfer
RAMON COELHO
Sound by
701 SOUND
Sound Effects Editor
IRA SPIEGEL
Dialogue Editor
MARLENA GRZASLEWICZ
Assistant Sound Editor
MATT RIGBY
Re-recording Mixer
MARTIN CZEMBOR
A Co-Production with
AVRO TELEVISION
Commissioning Editor AVRO
MARIJKE HUIJBREGTS
Legal Services
JAMES F. GUERRA
KIMBERLY P. NGUYEN
MITCHELL, SILBERBERG & KNUPP, LLP
Production Insurance
D.R. REIFF AND ASSOCIATES
E&O Insurance
STEPHEN CARROLL, AON INSURANCE
Legal Services for Mudpuppy Films, Inc.
WOO JUNG CHO, ESQ.
EMERSON BRUNS, ESQ.
Additional Legal Services
DONALDSON & CALLIF, LLP
Original Score by Nathan Halpern
Courtesy of Copticon Music (ASCAP)
Orchestrations by
NATHAN HALPERN
ROBERT PYCIOR
Vocals
LORI FISHER
Guitar and Piano
NATHAN HALPERN
Harp
MARY LATTIMORE
Percussion
V.S. NABAKOV
Contra Bass
ANDREW PLATT
Violin & Viola
ROBERT PYCIOR
Cello
JODY REDHAGE
Score Recorded and Mixed by
THEO AARONSON
Orphee's Return” by Philip Glass
©1993 Dunvagen Music Publishers (ASCAP).
Used by Permission
Courtesy of Orange Mountain Music
“Atmosphere” by Chris Ballew
“Crosstown” by Lev Zhurbin
“Seltzer I Do Drink” by Lev Zhurbin
“East Berlin PB” by Lev Zhurbin
“Girls that Swear” written by Vin Dombrowski; performed by Crud
All Courtesy of Pump Audio Music Publishing
FEATURED ART WORKS
(All works by Marina Abramović unless otherwise noted)
PORTRAIT WITH FLOWERS (2009)
Photograph by Marco Anelli
RHYTHM 10 (1973)
RHYTHM 0 (1974)
DISSOLUTION (1997)
THE HERO (2001)
FREEING THE VOICE (1975)
RELATION IN TIME (1977)
Marina Abramović and Ulay
POINT OF CONTACT (1980)
Marina Abramović and Ulay
RELATION IN MOVEMENT (1977)
Marina Abramović and Ulay
NUDE WITH SKELETON (2002)
ROLE EXCHANGE (1975)
LUMINOSITY (1997)
RHYTHM 2 (1974)
IMPONDERABILIA (1977)
Marina Abramović and Ulay
RHYTHM 5 (1974)
HOUSE WITH AN OCEAN VIEW (2002)
IN BETWEEN (1996)
FREEING THE BODY (1976)
BREATHING IN / BREATHING OUT (1977)
Marina Abramović and Ulay
CHARGED SPACE (1978)
Marina Abramović and Ulay
RELATION IN SPACE (1976)
Marina Abramović and Ulay
ART MUST BE BEAUTIFUL,
ARTIST MUST BE BEAUTIFUL
INCISION (1978)
Marina Abramović and Ulay
Hermann Nitsch
PERFORMANCE V
Re-performed by Marina Abramović
AAA-AAA (1978)
Marina Abramović and Ulay
INSOMNIA (1997)
Guido Reni
FORTUNE WITH A CROWN
Private Collection
Photo: Christie’s Images
The Bridgeman Art Library
Edouard Manet
OLYMPIA (1863-1865)
Musee d’’Orsay, Paris, France
Photo: Erich Lessing / Art Resource, NY
Titian
VENUS ANADYOMENE
National Gallery of Scotland, Edinburgh
Photo: Scala / Art Resource, NY
Jean Leon Gerome
PHYRUNE BEFORE THE TRIBUNAL (1861)
Photo: bpk, Berlin / Hamburger Kunsthalle /
Elke Walford / Art Resource, NY
BALKAN BAROQUE (1997)
NIGHTSEA CROSSING (1981-87)
Marina Abramović and Ulay
REST ENERGY (1980)
Marina Abramović and Ulay
LIGHT/DARK (1977)
Marina Abramović and Ulay
THE GREAT WALL WALK (1988)
Marina Abramović and Ulay
Excerpts from the film
THE GREAT WALL OF CHINA
LOVERS AT THE BRINK (1989)
Directed by Murray Grigor
BIOGRAPHY (1992)
EXPANSION IN SPACE (1977)
Marina Abramović and Ulay
RHYTHM 4 (1974)
LIPS OF THOMAS (1975)
ENTERING THE OTHER SIDE (2005)
Excerpts from the film
SEVEN EASY PIECES (2005)
Directed by Babette Mangolte
THE ARTIST IS PRESENT (2010)
The retrospective exhibition and new performance was
conceived, titled and organized by Klaus Biesenbach
___________
The filmmakers would like to thank
THE MUSEUM OF MODERN ART
GLENN LOWRY, DIRECTOR
KLAUS BIESENBACH, CHIEF CURATOR AT LARGE
MARGARET DOYLE, DIRECTOR OF COMMUNICATIONS
TUNJI ADENIJI
LOUIS BEDARD
SEAN BROWN
FIMBAR BYAM
LOUIS CARRASCO
DENNIS CINTRON
NELSON CORDERO
HOWARD DEITCH
KIM DONICA
CARLOTTA HEYLIGGER
JOANNE HUGHES
ERICA PAPERNIK
LINDA PHILLIPS
K MITA
JOE ROSA
OSVALDO SANCHEZ
Re-Performers
MARIA JOSE ARIONA
BRITTANY BAILEY
JOHN BONAFEDE
LYDIA BRAWNER
RACHEL BRENNECKE
AKA BON JANE
REBECCA BROOKS
ISABELLA BRUNO
ALFREDO FERRAN CALLE
HSIAO CHEN
REBECCA DAVIS
ANGELA FREIBERGER
KENNIS HAWKINS
MICHAEL HELLAND
IGOR JOSIFOV
ELANA KATZ
CYNTHIA KOPPE
HEATHER KRAVAS
GARY LAI
ABIGAIL LEVINE
JACQUELINE LOUNSBURY
ISABELLE LUMPKIN
ELKE LUYTEN
ALEXANDER LYLE
JUSTINE LYNCH
TOM MCCAULEY
NICK MORGAN
ANDREW ONDREJCAK
Special Thanks
ULAY
SEAN KELLY
SERGE LE BORGNE
DAVIDE BALLIANO
CHRISTINA LEE BROWN
THE ATLAS FOUNDATION
JURI ONUKI
TONY ORRICO
WILL RAWLS
MATTHEW ROGERS
GEORGE EMILIO SANCHEZ
AMA SARU
JILL SIGMAN
MARIA S.H.M.
DAVID THOMPSON
LAYARD THOMPSON
AMELIA UZATEGUI BONILLA
DEBORAH WING-SPROUL
YOZMIT
JERAMY ZIMMERMAN
MONTENEGRO MINISTRY OF CULTURE
WILLEM PEPPLER
HEATHER & TONY PODESTA
PHILIP & SHELLEY AARONS
ROBBY BROWNE
CHAD LEAT
ELAINE MUSSELMAN
EMILY BINGHAM & STEPHEN REILY
ALICE GRAY STITES
RICCARDO TISCI
KATE & ANDY BELL
VELIMIR ABRAMOVIĆ
THE AKERS FAMILY
MARCO ANELLI
ANDRE BALÁZS
SABINA BELLI
DAVID BLAINE
MAUREEN BRAY
ALESSIA BULGARI
MARIELA COCCA CANTERA
BRADLEY CARLSON
FRANCESCO CARROZZINI
JACOPO CELONA
SU CHERMAYEFF
CHONG KEUN CHU
PETAR CUKOVIĆ
MICHAEL DUECK
JOSEPH & JUDY DUPRE
JAMES FRANCO
STINA GUNNARSSON
JEFFERSON HACK
TOM JARROLD
VANESSA KAY
COLLEEN KEEGAN
LAUREN KELLY
MARY KELLY
SOO KIM
MICHAEL KIMMELMAN
JAMES LARTIN
CHRISTINE LE GOFF
JOANNE LEWINGTON
WALLY LINEBARGER
KSENIJA MARTINOVIC
LUCY MCINTYRE
BRANISLAV MICUNOVIC
DANICA NEWELL
ELIZABETTA NOSTRO
HANS ULRICH OBRIST
GEORGE O’DONNELL
CECILE PANZIERI
CAROLINE DEROCHES PASQUIER
SANDRA MIRANDA PATTIN
ALAN POUL
CHRIS RALEIGH
LAMA DOBOOM TULKU RIMPOCHE
SIDNEY RUSSELL
MARTIN SCHOELLER
JOVANA STOKIĆ
MICHAEL STEFANOWSKI
JULIA STOSCHEK
ROBERT STORR
PETER SUPERTI
ANDRÁS SZÁNTÓ
JUDITH THURMAN
JÖRN WEISBRODT
JAMES WESTCOTT
BARBARA WESTMAN
ZOË WOLFF
© 2012 Show of Force LLC and Mudpuppy Films Inc.
All Rights Reserved
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